"She fell in love with what she wanted you to be."
"What? No, you're wrong, she wasn't in love with me."
"That's what I meant, Jim. She loved an image, not a man. Only, there was a—" (Edith, stop! Don't say it!)—"a tangible male involved in it too, who happened to get her pregnant."
"I—can't go for that psychological stuff. She's over eighteen. Well, I know, you can beat me over the head with the pregnancy if you want to, but since it wasn't God's will that it should live, what can I do?"
"What she said, perhaps." She heard her own voice electric, hurting in her ears. "If she were still carrying it, what would you do? That would be wages of sin, I guess? The way it was God's will you should try out a virgin for variety, or kicks? Or did you just feel that if an unconventional, unreligious girl wasn't a whore she ought to be?"
"I shouldn't have called. God forgive you."
Edith set the instrument down. The trembling would presently stop. Overcharge of adrenalin, stupid physical need to slash again, with claws. She fumbled a cigarette from the box by the telephone. Anyway Jim would not call back. He'd rest on the dignity of his last word, which Father Bland would have approved.
Sam Grainger was in the world, somewhere. Married probably, with one of the symphonies, teaching. His myriad hours of violin and oboe practice, piano, harmony, counterpoint, all had been aiming at that. The violin for preference, oboe because good violinists are numerous. With affection that had never perished, Edith thought: What Sam wants, Sam earns and gets. She noticed she was thinking in the present tense. Fair enough: it would still be true. Sam Grainger would still be a man dedicated and absorbed, immune to discouragement, too big for distractions. He had not been too seriously distracted by an affair with a redheaded art student. So what has become of the old brownstone front, shabby-sacred rooms, thready hole in the rug, genially silly print of "The Storm"—Mrs. Cardle considered that one real nice for anyone that was artistic-like—and the bed that mysteriously didn't squeak if you lay across it instead of lengthwise? What stills the music, and where are the green shadows of Arcadia?
The rooms would have accepted the whispering and secret laughter of a crowd of lovers in seven years, all giggling at sad, vague, moral Mrs. Cardle and that grayish lump of dough, her husband, whose thick delirium of hate for the antique coal furnace in the basement was very nearly a form of love. You saw the Cardles dealing with an ebb and flow of Boston lodgers world without end. But they could have been human and mortal; the brownstone could have yielded to a flat-faced office building. If it had not, though, the center flagstone of the rear yard would look the same in a sluice of rain, the crack in it like the junction of Ohio and Mississippi, seen by young eyes from the window of the third floor back.
One gray afternoon—Edith's room dim, the curtains adequate—they had stood naked near that window to watch Mrs. Cardle trying to teach her old round-bellied bulldog to roll over and play dead. Behind closed eyes and seven years, Edith felt again Sam's chin at her shoulder, shiver of held-in laughter at the dog's patient refusal to understand and its resemblance to Mr. Cardle; Sam's arm under her breasts moving, she turning then, clutching his black curls in mimic savagery, twisting free of him, racing him to the bed, caught with welcome violence and sudden entering thrust, violently held through a long course of love, an animal riot of pleasure carrying them together to the height, to the moment when the heart must break and die a little, the explosion of not-pain, the blindness and the quiet. And the quiet: summit of a hillside, also homely truth of two bodies in the aftermath of orgasm, each comic-serious detail of throbbing and subsiding organs felt, known, recorded in the mind's continuing life history with acceptance, tenderness, satisfaction, relief, amusement, wonder. Kissing him slowly in the quiet, kissing the hard-tipped fingers of his left hand, fine bony rib cage and knotty shoulders, the lifetime red mark printed under his jawbone by the violin, his other love. And—"Time I should get back to work, Red-Top."